Anna Netrebko will perform in Offenbach’sLes Contes d’Hoffmann, to run at the Metropolitan Opera, December 3, 2009 – January 2, 2010.
The cast has already been announced:
Joseph Calleja (title role),
David Asch (La Harpe),
Ekaterina Gubanova (Giulietta),
Alan Held (Four Villains),
Kathleen Kim (Olympia),
Kate Lindsey (Nicklausse/The Muse), Anna Netrebko (Antonia),
Alan Oke (Four Servants),
Dean Peterson (Luther/Crespel),
Rodell Rosel (Nathanaël),
Mark Schowalter (Spalanzani/Schlémil),
Michael Todd Simpson (Hermann),
Wendy White (Antonia’s Mother).
The matinee performance on December 19 will be transmitted worldwide as part of The Met: Live in HD series.
Her Violetta was boldly and warmly sung, with a whole-heartedness that distinguishes her from the more costive Angela Gheorghiu (whose voice is more purely beautiful).
The curtain call said it all. Others would emerge looking drained, distrait and lost in the tragedy of the role, but Netrebko bounced out all smiles and waves, looking ready to start all over again.
“Her “Traviata” at Salzburg two years ago was such a hot ticket that scalpers were reportedly charging $7,000 a seat, and her records regularly top the charts in Europe. In the summer of 2006 she was part of a concert in Berlin that filled a stadium.”
“In August, when I had lunch with her in Vienna, where she also has an apartment, she turned up wearing purple pumps (which matched her eye shadow), a bright orange duster and the shortest miniskirt I’ve seen anywhere except on Carnaby Street in 1969.”
“Then she won the Glinka singing competition, auditioned for the part of Barbarina in The Marriage of Figaro and got the rather bigger part of Susanna. That was in 1994, at an age when most British singers are barely out of nappies.”
“Last year I got a big depression, I wanted to give up singing, nothing was making me happy.”
“In real life she’s taller than she seemed on that stage — a testimony to how vulnerably well she played the part — and I remember vividly the combination of stage presence and startlingly large, beautiful, rounded voice coming out.”
“….you can’t sing after dancing all night. I’m getting old! And I can’t afford cracked notes at Covent Garden.”
Dear Anna,
The magic of your voice arouses dormant feelings from deep inside of me; old memories emerge, as well as new hope and fresh dreams do.
But I do not want to even try to explain the magic of your voice with the vocal chords' thrilling merely. I strongly believe it lies in what they call, the mysterious Russian soul.
This blog is my attempt to comprehend this hidden yet decisive piece of your art.
Ask Anna
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